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Shotgun Stories (2007)
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All reviews for Shotgun Stories
FilmCouch #102: Best of 2008, W ...
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"2008 was not the banner year that ‘07 turned out to be, but there were still plenty of movies worth watching. Sometimes end-of-year lists look like straight Oscar predictions, with little deviance from critic to critic, not so this year. Some of our favorite stuff was not playing in a theatre near you, some of it was. For the record, our complete lists are after the jump. But first! Wholphin 7 is out now! The geniuses over at McSweeny’s have once again curated a delightful collection of rare and unseen short films. We share our thoughts about a few favorites. One film we both loved, Glory at Sea, is available for free here. (Subscribe to FilmCouch–Spout’s weekly movie podcast–in the iTunes store or to our
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Week 30.
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"Titles in bold represent a first time viewing. 346. Magnolia (Anderson, 1999)----------I thought that this was a pretty great collage-type film with the likeness of a more familiar title, Crash. Aside from Julianne Moore's performance, one of the few things I didn't like was the fact that the characters didn't connect with each other other than the bizarre finale at the end of the film. (7.5 / 10) 347. Stuck (Gordon, 2007)----------Based on a true story, stuck follows a wannabe-ghetto woman (Mena Suvari) after she hits a homeless man and drives him into her garage. The acting was terrible, the premise was good though. Towards the end, it began to pick up in terms of entertainment. (6 / 10) 348. Equilibrium (Wimmer, 2002)----------Christian Bale? Sweet. Reviews relating it to The Matrix? Awesome. This is why I initially c "
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Shotgun Blast of Talent
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"Tribeca's trenchant trio: The men of Shotgun Stories By Vadim Rizov Shotgun Stories is a genuinely exciting debut from an unknown quantity -- a rarity at Tribeca, even if the film itself is too weird and unbalanced to be an unqualified success. Jeff Nichols' debut plays like hicksploitation run through a David Gordon Green filter -- not terribly surprising, since the man himself is one of the producers. The mixture is as unstable as it sounds: The pitch-perfect framing and performances are all in service of a tone that's impossible to pin down. Is Shotgun Stories a mocking vision of the Deep South with actors straining to keep straight faces? Probably not -- the film's too steeped in its location shooting to be a giant put-on, and Nichols is an Arkansas native -- but this is a story about taciturn men whose most-used word is "Shee-it" and who don't seem to think any time is a bad time to crack open a Miller High Life. Son (Michael Shannon), Boy (first-timer Douglas Ligon) and Ki ... "
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SHOTGUN STORIES Hits NY Today
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Karina
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"Shotgun Stories, the impressively accomplished feature debut of writer/director Jeff Nichols, has a few obvious affinities with the directorial work of its producer, David Gordon Green. Beyond the fact that both filmmakers have a demonstrated interest in the personal tragedies of working class families in the small-town South, much of the commonality lies in the aesthetic sense that Green has been fairly accused of adopting from Terrence Malick. But if Shotgun’s courting of visual pleasure via deliberate pacing and a certain transluscent golden glow fail to reinvent the wheel, at least credit Nichols with picking the seconds that suit the material. A lyrical story of feuding familial factions in Southern Arkansas, Shotgun gets off to a slow, quirk-leavened start, but as a seemingly minor character morphs from grating comic relief to major catalyst for action, the film gains weight and eventually snowballs into an undeniably affecting moral tragedy.
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SHOTGUN STORIES Hits NY Today
by
SpoutBlog
in
SpoutBlog on spout.com
hasn't rated it.
Was this review helpful?
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"Shotgun Stories, the impressively accomplished feature debut of writer/director Jeff Nichols, has a few obvious affinities with the directorial work of its producer, David Gordon Green. Beyond the fact that both filmmakers have a demonstrated interest in the personal tragedies of working class families in the small-town South, much of the commonality lies in the aesthetic sense that Green has been fairly accused of adopting from Terrence Malick. But if Shotgun’s courting of visual pleasure via deliberate pacing and a certain transluscent golden glow fail to reinvent the wheel, at least credit Nichols with picking the seconds that suit the material. A lyrical story of feuding familial factions in Southern Arkansas, Shotgun gets off to a slow, quirk-leavened start, but as a seemingly minor character morphs from grating comic relief to major catalyst for action, the film gains weight and eventually snowballs into an undeniably affecting moral tragedy.
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